Italian guitarist sets high standard on guitar playing<\/p>\n
JP\/18\/GUITAR<\/p>\n
checked --JSR
\nDesiderio plucks memorable performance out of thin air<\/p>\n
M. Taufiqurrahman
\nThe Jakarta Post\/Jakarta<\/p>\n
British music magazine Classical Guitar wrote in its 1992
\nedition that, like pasta, pizza and extra virgin oil, guitar
\nplayer Aniello Desiderio was another piece of good news from
\nItaly.<\/p>\n
High praise indeed, which Desiderio lived up to during an
\nevening performance early last week at Dutch Cultural Center
\nErasmus Huis, South Jakarta.<\/p>\n
During the outstanding solo performance, Desiderio displayed
\nsuperb guitar-playing skill, producing a rich sonic palette
\nenough to sound as though an ensemble were playing.<\/p>\n
Desiderio used his guitar -- without any electrical
\namplification -- to charm the audience, which up until that night
\nhad learned about his reputation from word of mouth.<\/p>\n
The sounds that came from his guitar exuded warmth and organic
\ntonality that made him more than just a virtuoso.<\/p>\n
None of the pieces performed was ever monotonous; rather, they
\noffered a polyphonic spree, stimulating all the senses in the
\naudience.<\/p>\n
The guitarist's religious way of playing his instrument was in
\nitself a major draw in the show.<\/p>\n
Before starting to play, Desiderio spent a moment composing
\nhimself whiling taking a deep breath -- at times disrupted by the
\nbuzzing of cell phones belonging to boorish members of the
\naudience who had forgotten to turn off their gadgets, or the
\nshower of white light that came from the entrance, opened for
\nconcertgoers who had not made it on time.<\/p>\n
What resulted from such concentration was Desiderio's heavenly
\nstrumming, which made a powerful impact on each composition.<\/p>\n
In Three Sonatas, an arpeggio-laden composition by Italian
\ncomposer Domenico Scarlatti (1685 to 1757), the first three notes
\nresounded very clearly before fading into thin air.<\/p>\n
In the latter parts of the composition, Desiderio wasted no
\ntime flaunting his craft, working from the lowest to the highest
\nregister of the guitar at breathtaking pace, leaving the audience
\nnumb in their seats, so sometimes they applauded prematurely out
\nof sheer astonishment.<\/p>\n
In the wake of the sonatas, Desiderio presented a three-part
\ntranscription of a piano-based composition from Spanish composer
\nIsaac Albeniz.<\/p>\n
Starting with flamenco-tinged Asturias, the suite went on to
\npaint delightful tone-pictures in Cadiz and Sevilla.<\/p>\n
The first part may even be familiar with casual classic rock
\nfans.<\/p>\n
It was used extensively as the basic melody for the Doors'
\npiece Spanish Caravan, a 1968 hit off the band's third record,
\nWaiting for the Sun.<\/p>\n
Desiderio is himself a classic rock fan, who has much
\nadmiration for British progressive rock outfit Pink Floyd.<\/p>\n
After the one-hour-plus performance, the audience left the
\nErasmus Huis auditorium nodding their agreement about the
\nreputation of Desiderio.<\/p>\n
The 35-year old musician is a disciple of Cuban composer Leo
\nBrouwer and has been dubbed an \"enfant prodige\" and a
\n\"wunderkind\" for his exceptional skill.<\/p>\n
He has bagged dozens of awards at international guitar
\ncompetitions. Among these was first prize at the 1988
\nInternational Guitar Competition in Tokyo, Japan.<\/p>",
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